Creative Work Database

Listing of creative work related to Singapore.

Our new Creative Work database is a repository for literary and dramatic works related to Singapore which are written by FASS Faculty and Students, past and present. The contents of this work-in-progress call on the theories and techniques taught and researched at FASS. Some of the creative work links to a sample of the original text. Research is also ongoing and the database will grow as we continue to update it. Items with the symbol “i” indicate that an abstract is available.

To search more effectively, please use the MLA or APA citation style which uses the author’s last name and initials.

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This essay is written in response to a reader's comment on "外来人才". Ong clarifies a misunderstanding on the part of the reader, and reiterates his concerns about Singaporeans' lack of confidence in local talent. Finally, Ong hopes that local talent will be nurtured as well.

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Ong ponders if the Singaporean practice of welcoming foreign sporting talent as a way to win glory for the country suggests that Singaporeans are lacking in patience and self-confidence, leveraging on foreigners instead of cultivating their own local talent pool.

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Singapore's falling birth rate has been elevated to a national concern. Aware that Singaporeans are a pragmatic lot, the government's pro-natalist policy includes a myriad of economic incentives. However, Ong questions if a blissful family life can be effected by such incentives.

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While the majesty and opulence of Tang Dynasty City a thousand years ago cannot be replicated exactly, one need not go to history textbooks to experience its grandeur. Chua describes the opening of the Tang Dynasty City in Singapore as a minor testament to a rich heritage, enabling one to have a taste of this Golden Age of Chinese civilisation while immersed in this environment.

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This poem celebrates the selfless spirit of a group of early Chinese immigrant women in Singapore who came from humble backgrounds and took vows never to marry so as to commit their lives to their work as they sought to earn money to be sent back to their families in China.

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This volume gathers 65 personal stories of ordinary Singaporeans, going as far back as the time of the Japanese Occupation. It includes Goh’s personal experiences during the Sook Ching massacre and various other events in the course of the nation’s history. These stories illustrate specific moral values and are also reflections of Singapore's culture.

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Ong compares the welfare initiatives for the disabled and low-income women with children in Singapore and America, and finds that in the case of Singapore, these initiatives fall noticeably short. He attributes this not to differing compassion levels, but to the latter’s strong emphasis on egalitarianism and Singapore’s preoccupation with monetary concerns.

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This essay addresses the criticism about the paucity of quality output in Singapore's Chinese literary scene. It argues that the country has a rich literary heritage, although it may now be seen to be suffering from a decline in standards.

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When a letter to a newspaper tells of a parent who would rather an obtuse child die than to have to raise him, Ong exclaims that the way Singapore society writes off people who do not make the mark has disturbing echoes of feudalism. He exhorts Singaporeans to de-emphasise academic ability in determining a child’s worth.

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During a gathering of Singaporean students studying in Ivy League universities, Ong experiences a sense of alienation despite being a Singaporean from Harvard. Ong suggests that this feeling stems from the Singapore government's dichotomisation of elites and non-elites, and his identification with the latter. He discusses this issue in detail in this essay.

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Ong argues that Singaporeans’ subpar Chinese standards have much to do with the government’s condoning attitude towards Chinese in their education policy. For instance, bright students who cannot master the language can simply opt for "Chinese B", without worrying about this lowering their elite status.

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This piece discusses the importance of social titles as a sign of respect, and notes that Singaporeans are fast discarding this traditional convention even as they claim to want to preserve their Chinese value system.

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This essay discusses the origin and rationale of "No Art Day." Ong applauds this event because it encourages Singaporeans to contemplate censorship issues, and he believes that the role played by society in this area is as important as that played by the authorities.

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Phua Chu Kang, a Singaporean sitcom criticised for its characters' liberal use of Singlish, has been identified as a cause for Singapore's falling English standards. Believing this to be unfair, Ong thinks the island-nation should re-examine its bilingual education policy instead.

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“Tangent," a society aimed at fostering discussion among Mandarin-speaking Chinese Singaporeans, is aptly named since Mandarin-speaking Chinese Singaporeans are not fully integrated with society at large. Ong hopes that the establishment of “Tangent” will bridge the chasm between the mainstream and this large, but marginalised group.

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Ong recounts a particular incident where kiasu, a Singaporean trait, is mispronounced by an American and mistakenly regarded as a representation of Chinese culture, demonstrating the poor understanding that Americans can potentially have about Chinese culture.

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This sequel to Army Daze, Singapore’s best-loved comedy, is finally here! The all-new comedy catches up with Malcolm Png three decades later: our mummy’s boy is now an SAF regular, serving as Director of Public Affairs. When his son Justin enters national service, it brings back vivid memories of his own experience.
And what of his best buds from Hotel Company, 1987?
Teo Ah Beng is now an entrepreneur, while Johari Salleh runs a fast-food chain serving ayam penyet. Style-meister Kenny Pereira has become a sought-after interior designer, and former slacker Krishnamoorthi is now a successful architect.
The five meet up after three decades for an unforgettable get-together, filled with hilarious surprises. Even after 30 years, the spectre of CPL Ong continues to haunt them, appearing at (disturbingly) regular intervals of the story.
Running parallel with Malcolm’s story are the adventures of his son Justin and his BMT mates Donovan, Zai and Kuan Yew. Adding spark is Renee, the spunky girl they all wanna call their own.
While Malcolm and friends confront mid-life crises, son Justin and gang cope with the romantic confusions – what would life be without mayhem, melodrama and music?
Featuring a brand new script by playwright Michael Chiang, Army Daze 2 will be directed by Beatrice Chia-Richmond and showcase original songs by Don Richmond. All three worked on the 25th anniversary production of Army Daze (2012, 2013).